Kathak
In the north of the India, the Kathak (pure dance and narration) was initially interpreted by the men, who hold still sometimes feminine roles.
Of religious origin, the kathak evolved during the Islamic Period to a form more diverting; the current kathak is thus a synthesis of two sources: crowned and secular.
The storytellers (Kathakara) were attached to the temples in the Uttar Pradesh, where was born Krishna. The crowned texts, Ramayana or Bhagavad-Gita, were sung and mimes to be transmitted to an illiterate public. After the propitiatory introduction, the passages of Danse pure and narrative alternate, and the circular motions of the hands and the wrists confer on this art a characteristic style. The dance starts gradually and the rate/rhythm accelerates. Less rigid than Bharata natyam, the kathak leaves little place to the improvisation. The dancer must have physics qualities and must keep a grace in spite of the speed of his dance. Moreover the kathak is based above all on the movement of the feet that with the hand. The kathak is characterized by these movements of pirouettes and these various postures known as statuesques!
There exist two major varieties of Manipuri: the lay haroba , interpreted by a mixed couple dancers crowned during the month of will chaitra (March-April), and the shaved lila , which tells the loves of Krishna, Radha and the vachères.
Some famous interpreters of the kathak
Shambhu Maharaj, Sunder Prasad, Birju Maharaj, Damayanti Joshi, Gopi Krishan and more recently the dancer and British contemporary choreographer Akram Khan.
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